@noromance , Also thanks for your sportsmanship. I expected
accusation of discrimination of not romantic kind of peoples.
accusation of discrimination of not romantic kind of peoples.
Testing the Yamamoto HS-4 Carbon Fiber headshell.
Received the Yamamoto HS-4 Carbon Fiber headshell today and tried it on my 12" Jelco 850L. I guess this is a common upgrade path for many Jelco users so I succumbed to temptation.
Turntable is a modified Garrard 401 in a slate plinth on a maple and concrete support with new third party bearing, platter and idler.
I tested it with my Decca "Garrott Brothers Microscanner" Gold with new line contact stylus and Decapod.
Three records were played. Ketty Lester - Love Letters (1962), Cole/Davinport/Tate/Dickenson - French Festival Nice France 1974, Buddy Tate - The Great Buddy Tate (1981).
I played sample tracks from the records before swapping the standard magnesium Jelco headshell out. From the first needle drop using the Yamamoto, there was a soft grey veiling. Not a great start. There was definitely greater depth and improved bass - I could hear the kick drum pedal hitting the skin in a very specific location and acoustic bass was well delineated and easier to follow. Soundstage was more of a wall of sound with greater height. I remember the same effect using grey plate Sylvania Gold 5751s once which are acclaimed but not to my taste. Female vocals didn’t have the articulation and airy projection I normally experienced and it was that which forced me to stop going any further and I duly put the original shell back. The greyness was gone, replaced by a transparent black background and what I can only call a vast increase in precision and focus. I deliberately didn’t mention the mids and highs with the HS-4 simply because they were compromised and wholly unsatisfactory. With the Jelco, the tremendous detail returned: The color and metallic shimmer of cymbals, the beauty of vocal inflection, instruments speed and clarity. Piano hammers sounded fast and believable. But most importantly, dynamic range now soared with startling realism. That bass drum is not as clearly evident and it is the one area I’ll give to the Yamamoto. Make no mistake though, this carbon fiber headshell was an enormous fail for me. I can only assume the material imparted its soft plasticky sonic signature onto the music. Not recommended.
Turntable is a modified Garrard 401 in a slate plinth on a maple and concrete support with new third party bearing, platter and idler.
I tested it with my Decca "Garrott Brothers Microscanner" Gold with new line contact stylus and Decapod.
Three records were played. Ketty Lester - Love Letters (1962), Cole/Davinport/Tate/Dickenson - French Festival Nice France 1974, Buddy Tate - The Great Buddy Tate (1981).
I played sample tracks from the records before swapping the standard magnesium Jelco headshell out. From the first needle drop using the Yamamoto, there was a soft grey veiling. Not a great start. There was definitely greater depth and improved bass - I could hear the kick drum pedal hitting the skin in a very specific location and acoustic bass was well delineated and easier to follow. Soundstage was more of a wall of sound with greater height. I remember the same effect using grey plate Sylvania Gold 5751s once which are acclaimed but not to my taste. Female vocals didn’t have the articulation and airy projection I normally experienced and it was that which forced me to stop going any further and I duly put the original shell back. The greyness was gone, replaced by a transparent black background and what I can only call a vast increase in precision and focus. I deliberately didn’t mention the mids and highs with the HS-4 simply because they were compromised and wholly unsatisfactory. With the Jelco, the tremendous detail returned: The color and metallic shimmer of cymbals, the beauty of vocal inflection, instruments speed and clarity. Piano hammers sounded fast and believable. But most importantly, dynamic range now soared with startling realism. That bass drum is not as clearly evident and it is the one area I’ll give to the Yamamoto. Make no mistake though, this carbon fiber headshell was an enormous fail for me. I can only assume the material imparted its soft plasticky sonic signature onto the music. Not recommended.
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- 59 posts total
Coming late to this Thread..... I'm disturbed Noromance.....that you have experienced this with the Yamamoto HS-4 Carbon Fiber headshell....🤔 This is my 'Headshell-of-Choice' and I must have over a dozen of my CARTRIDGES mounted in them....including the LDR!!! Not a single cartridge sounded other than 'superb' in this shell....be it MM or LOMC. I cannot even begin to suggest a reason for your alternative experience....? The 'synergy' thing doesn't convince 🤥 Is it at all possible that the cartridge leads were attached to the wrong pins (out-of-phase)? I don't even know if it would play like that....? |
@halcro I was hoping you'd stop by. I'm baffled. It's not the first time I've had well-reviewed items sound worse than what I already have. I'm certain the leads were correct. I took a photo in case I forgot the orientation. As you know, the Boston Mat2 was one and some $250 acclaimed phono cables utterly failed to match my standard Jelco 501 cable. However, other goodies like idlers, bearings, tubes have all been consistent with other users' feedback. Maybe the Decapod metal created an unstable junction between the carbon fiber... |
"I'm disturbed Noromance.....that you have experienced this with the Yamamoto HS-4 Carbon Fiber headshell...." @halcro With two of these expensive things and having the same result as noromance, if you think you're disturbed, you ought to take my pulse. I can't return mine so it is a dead loss. |
- 59 posts total